CHICAGO — The sixteenth installment of a series (Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15) in which artists send in a photo and a description of their workspace. Want to take part? You can peruse the submission guidelines here

Louise Sloane, New York (site)

This studio was built as an addition to the house I share with my family, nearly 19 years ago. The ceilings are 16 feet high to accommodate larger scale paintings. Since I don’t have to travel to my studio, I can basically wander in here any time of the day or night, regardless of the weather and work.  I have set up a couple of sections. When I’m laying my “text” onto the substrate, I work flat (and the work must remain flat until dry and hard). I cannot really see what the painting looks like until it’s either propped against the wall (usually on top of empty gallon containers) or hung. At this point, I begin the next round of painting. An additional small table has been set up so that I can do color studies while waiting for the larger work to dry.

Two levels of built in storage racks are on the opposite wall (the lower level has old sheets covering it to protect the work from getting splattered — also gives me another place to hang work). Taller storage racks on top of my flat files by the entry. I’ve tried to use every bit of space efficiently. There’s a tall rack behind that door loaded with books and art magazines. My aprons and coveralls, and my gas masks, hang on the back of the door. My company during the day is Tony who reminds me when it’s time for a walk outside and his dinner.

Karine Freymann, Metz, France (site)

My workspace is also the place where I live. I have the chance to use a great loft,  where I have been able to occupy a large corner. I work mainly on a table, as I generally paint on small canvasses.

My art supplies are always on my work table, ready to be grabbed whenever I feel the urge to create. On my shelves are some art books, just in case!

William Evertson, East Hampton, Connecticut (site)

Working from my home in Connecticut I’m able to spread out to an extent unimaginable during the years I spent in NYC. This picture is one of three workspaces I use for my art making which these days tends to center on artist’s books, sculpture and small one or two person shadow theater performances.

This picture was taken on a day where I’m in the process of making props for the theater. A large work surface (5’ x 9’) is in the foreground where I’m usually busy making drawings or cutting the shapes and silhouettes I use as props for the theater. Many drawings are worked out on clear acetate then used as shadowy scenery.

Flat files to the left contain either finished drawings and prints or the various papers I’ve collected over the years. Just upstairs from this studio is my computer area for video editing or where ideas are often worked out in Photoshop. As part of the artist collective, Seeking Kali, Google + or Skype sessions often are part of each days creative process. My days begin early, sometimes before 6 am, and I often rotate through the two to three open projects in progress.

Christian Moeller, Berlin, Germany (site)

This is my workspace in an old bakery. The atmosphere just happened on company time. On the right are both my easels, behind the painting. A third easel is on the left. The ground is filled with old newspapers. Straight ahead is a long table for my painting materials and brushes. In the breaks from painting I have written some thoughts on the wall. It is just my creation progress, that is all. I cannot work if everything is tidy. That’s no life. I like this atmosphere.

Sarah Hollars, New York City (site)

My studio is on the fourth floor of the Hunter College MFA Building located in Hell’s Kitchen. Before the space was donated to artists it was a technical school with six floors of large, heavy equipment.

The building is solid cement poured to form tall ceilings and large cavernous spaces that cannot be messed up no matter how hard one tries. I make large oil paintings because I am a girl and I want to make sure you know I am not joking when I paint a cat or dog on my canvas.

Usually a painting will get off to a quick promising start with the under-painting and then get stuck for weeks on end until I cannot take it any more get very angry and somehow manage to save it in the last moment before I am about to stab it with a pallet knife.

The studio is 500 square feet and all mine. It is divided into two spaces: a painting space and a storage/drawing space. A small drafting table sits in the back left corner of the room opposite a stack of old paintings carefully arranged against the dividing wall. To the right of the drafting table, shelves line the remainder of the back wall. On them I store my paint, glitter, stickers, tools, tape, dry food, essential Sylvia Plath book and other morbid yet comforting bits of literature to amuse myself while I take tormented breaks from uncooperative paintings.

Philip Hartigan is a UK-born artist and writer who now lives, works and teaches in Chicago. He also writes occasionally for Time Out-Chicago. Personal narratives (his own, other peoples', and invented)...

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